Yes, these comics sometimes veer into the extremely sappy, but they’re metafictional and wonderfully fabular throughout. Eden collects more than 100 simple four-panel strips featuring a diminutive, somewhat rabbit-like king, or at least, someone who wears a crown, in a magical land. An extremely insightful naïvite, of the sort that one hears in the occasional oracular pronunciation of a child, comes through at times. But these comics do not overlook death or other serious subjects. Holmberg, who writes and draws in Buenos Aires, has Eden and more available on his website, in Spanish. Odd that to learn about a Web comic, I had to go into my local comic store and buying a book, but it goes to show that book-based institutions have more than a retail function. And, it seems unlikely that Holmberg’s work would have appeared in translation without a publisher such as Drawn & Quarterly. Through such everyday efforts, we sometimes find the extraordinary.
Emerging Langauge Practices is a new journal based at SUNY Buffalo (poetic hotbed and host of the next E-Poetry) and founded by Loss Pequeño Glazier, Sarah JM Kolberg, and A. J. Patrick Liszkiewicz. Issue one is a real accomplishment.
There are eye-catching creative projects by mIEKAL aND & Liaizon Wakest and by Lawrence Upton and John Levack Drever. There are also pieces by Young-Hae Chang Heavy Industries and Molleindustria. (We can only hope for further industrialization of this sort and more of these compelling productions in future issues.) The issue also includes a piece by Abraham Parangi, Giselle Beiguelman’s mobile tagging, Sandy Baldwin’s plaintive piece “** PLEASE REPLY MY BELOVED **,” and Jorge Luis Antonio’s wide-ranging article on digital poetry.
The item that particularly caught my eye, though, was this article by Mark Marino: “The ppg256 Perl Primer: The Poetry of Techneculture.” Marino is an officer of the Electronic Literature Organization with me and a current collaborator of mine, although he completed this article before joining me on our current project. The discussion he developed for the first issue of ELP is really in-depth. Marino not only considers the workings and connotations of my ppg256 series of poetry generators, and considers related code and literary traditions from Perl Golf to the Oulipo – he also considers other programs that interest me and that I’ve discussed publicly in various contexts, sometimes with collaborators. And, he connects the coding traditions relevant to ppg256 to technical practices in boy culture and (via needlework) girl culture.
In one section near the beginning of the article, Mark relates a line of BASIC that I posted on his Critical Code Studies forum and notes (partly in jest, I think) the following:
>I cannot include the full discussion here (over 5000 words) because as Montfort told me over the phone (in jest, I think), he is planning a book-length anthology of readings about the program.
Well, that’s more or less the project Mark and I, along with several others, are now embarked upon. However, we’re writing this book in a single voice rather than collecting articles about the program. More on that before too long; for now, go and enjoy the new Emerging Language Practices.
Kurt Reinhard of the Zurich University of Applied Sciences and Arts has posted a 10-part video series about storytelling in our networked, digital age. The first part (“Change of Storytelling”) includes comments by:
– Ian Condry (MIT)
– Joshua Green (UCSB)
– Dean Jansen (Participatory Culture Foundation)
– Henry Jenkins (USC)
– Joe Lambert (Center for Digital Storytelling)
– Nick Montfort (MIT)
– Clay Shirky (NYU)
I also appear in part 7 (“Risks of Social Media”) and part 10 (“Bits and Pieces”). Besides the august company listed above, you can see that the videos get to some of the critical issues in storytelling today: fans attired as stormtroopers and “Charlie Bit My Finger – Again!”
The Electronic Literature Organization‘s conference at Brown University has new concluded – the workshops, performances, screenings, exhibits, and sessions all went very well, as did the coffee breaks and other times for informal conversation. Many thanks to the organizer of ELO_AI (Archive & Innovate), John Cayley!
The conference was a celebration of and for Robert Coover, co-founder of the Electronic Literature Organization and major American novelist, whose teaching and promotion of electronic literature has been essential to the field. Robert Coover was toasted and at least lightly roasted, heard papers presented on his work, and did a reading of the “recently renovated Hypertext Hotel” – a famous early project by students which did indeed turn out to have some recent renovations.
ELO_AI began on Thursday with an array of workshops by Damon Loren Baker, John Cayley, Jeremy Douglass, Daniel Howe, and Deena Larsen. Deena Larsen was later part of a great roundtable on archiving with Will Hansen, Marjorie Luesebrink, and Stephanie Strickland; the group discussed Duke University’s work with Stephanie Strickland’s papers (and digital works), the Deena Larsen Collection at the University of Maryland, and the efforts that the ELO made in the Preservation, Archiving, and Dissemination project. On the first day of the conference, Mark Marino organized a great panel with four undergraduate presenters. And, there was an opening reception at the Westminster Street gallery where an excellent show of digital literary work has been put together. While there was an array of work (in the screenings, performances, gallery, and sessions) from people who were presenting at an ELO conference for the first time, I was also glad to see many of the people who were instrumental in creating and publishing literary work on the computer more than a decade ago.
Without trying to enumerate every session of the conference, I’ll mention the Sunday 10am plenary to try to get across how wide-ranging the presentations and presenters were. In this session, George Landow, author of the famous Hypertext: The Convergence of Contemporary Critical Theory and Technology (1992), told the tragicomical tale of hypertext’s use in education at Brown. Angela Chang and Peggy Chi described two interactive projects for very young readers, projects that used my Curveship system and the Open Mind Common Sense project from Henry Lieberman’s MIT Media Lab group. Lawrence Giffin used the not-very-democratic framework of the salon to consider the important avant-garde site Ubuweb. And finally, Paola Pizzichini and Mauro Carassai looked into the Italian edition of Michael Joyce’s Afternoon and its almost total absence from Italian libraries. Certainly, some sessions were more focused – very focused in the case of the one on William Poundstone’s digital writing work; at least with a theme of process intensity, in the case of the session were I presented my work on Adventure in Style. But we had a genuinely diverse group of presenters, and sessions like this one on Sunday revealed this, while also showing that we do have cross-cutting interests and that we can have valuable conversations.
A special area if interest for me, interactive fiction, was represented by Aaron Reed, who did a reading of his Blue Lacuna in which he deftly showed both interactive sessions and the underlying Inform 7 code while a volunteer interactor spoke commands. Aaron Reed also gave a paper on that large-scale piece, explaining his concept of interface and his work on developing a non-player character who ranged across different spaces without being a simple opponent or companion character. In the same performance session and paper session, I got to see and learn more about Fox Harrell’s Living Liberia Fabric, a piece produced in affiliation with the Truth and Reconciliation Commission (TRC) of Liberia, incorporating video testimony, and employing Fox Harrell’s GRIOT system for poetic conceptual blending.
We welcomed new ELO board members and officers. Joining the ELO board are Fox Harrell, Caroly Guertin, and Jason Nelson. Dene Grigar took office as vice president, and Joe Tabbi completed his term as president, handing that role over to me.
During the sessions, we heard critical perspectives on many particular electronic literature work and some on the ELO itself, which will help us think about the challenges the Organization faces and how we can better serve readers and writers beyond American universities. The ELO has had ten years of growth and learning by now, and while there will be more of each to do, our four main projects are now well enough established that all of them are past 1.0:
- The Electronic Literature Collection, the second volume of which has been edited and produced by an independent editorial collective and will be published soon.
- The Electronic Literature Directory, which in its new manifestation offers community-written descriptions as well as metadata.
- Our conference – this most recent one at Brown was our fourth international gathering.
- Our site and our online communications, which offer information about the ELO and an introduction to electronic literature.
I’m glad to be starting my service as president of the ELO at a time when the organization has just had a very successful conference and has these other effective projects rolling. Thanks to Joe Tabbi and other past presidents and directors of the Organization for bringing us to this point – and, again, to John Cayley for bringing us all together at Brown.
Andrew Stern’s company Stumptown Game Machine released their Touch Pets Dogs, published by ngmoco for the iPhone. On this social network, everyone knows that you’re a virtual dog. Versions of it are in the top 10 free apps on the iPhone App Store now, and in the top 100 of pay apps.
Rover’s Day Out is the winner of the IF Comp. (Dogs everywhere!) The game is by Jack Welch and Ben Collins-Sussman. Broken Legs by Sarah Morayati took second, Snowquest by Eric Eve third. Congratulations to all authors! If you haven’t played the games yet, they’re still there waiting for you.
People on the Interweb donated $25,000 to Jason Scott, the textfiles.com, BBS Documentary, and Get Lamp guy. Man, it’s so easy to get money on the Web. Maybe you could do it too, if you first spend years, in your spare time and without pay, saving BBS files, saving Geocities, documenting computer history, and generally amassing a larger archive of digital media history than almost every university in the world put together.
Truly “indie” artgames made the New York Times Magazine. Jason Roherer leads the charge, but many of the usual suspects are quoted in this look at how non-industrial gaming is augmenting and challenging games of the commercial sphere.
A new issue of Game Studies is out, with these articles: “The Character of Difference: Procedurality, Rhetoric, and Roleplaying Games,” “Moral Decision Making in Fallout,” “Cheesers, Pullers, and Glitchers: The Rhetoric of Sportsmanship and the Discourse of Online Sports Gamers,” and “World of Warcraft: Service or Space?” Game Studies is free to everyone! No page fees for authors! Peer reviewed! The future of academic publishing, already here, and about games!
JayIsGames hosts an IF contest and calls for interactive fiction authors to create escape-the-room games. The deadline for this Casual Gameplay Design Competition #7 is January 31. Z-code only, unfortunately for those of us wedded to Curveship, but that lets you use Inform 6 or 7.
[As I wrote on netpoetic.com:] Adam Parrish recently taught a class at NYU in the ITP program: Digital Writing with Python. I was very interested to learn about it and to see documentation of the final reading/performance, with some links to students’ blog entries about their projects. Here at MIT, I teach a class called The Word Made Digital in which students do poetry, fiction, and less classifiable writing projects using Python and other systems and languages. And, I know that Daniel Howe has taught the RISD and Brown class Advanced Programming for Digital Art and Literature.
I suspect, though, that these classes that are mainly focused on writing and programming are rather rare – much more rare, I’d bet, than design and art classes that are heavy on programming. It may have something to do with the number of galleries and curated Web sites exhibiting programmed visual art, which seems to me to be much greater than the number of similar edited venues for digital writing that’s driven by code. I’m not sure which way the causality flows. But several of the art-loving among us have some idea that, say, Processing programs can be aesthetic, even though they’re made of code. It’s not as common for literary folks to think of Python, Perl, or other programming languages (whether or not they start with P) as ways of creating literary art.
My sense is that having readings, of the sort that Parrish hosted at the end of his class and of the sort that the Electronic Literature Organization has sponsored and organized over the years, is a useful way to address this gap between literature and the visual arts. (Full-blown festivals, of course, don’t hurt either.) A reading allows writers to show off a program, which may be intricate, and explain how it works. It’s fun for those who are already into digital literature, and an accessible way for other literati to see what computational writing is about and how it bring certain literary qualities into the digital realm – even if it does radically subvert others. And since there aren’t as many official, edited, and well-promoted publication options for computational writers, going to do a reading can be a good way to appear in a context of other writers and reach a public.
I’m trying to do my part here by running a reading series for digital writing, but that’s grist for the next post [of mine on netpoetic.com].
This was posted here on Post Position for the convenience of those of you who subscribe to the feed or visit the site. If you want to leave a comment, please head over to this post on netpoetic.com.
The first issue of the Journal of Gaming & Virtual Worlds, from earlier this year, sports a nice article by Alf Seegert, “Doing there’ vs. ‘being there’: performing presence in interactive fiction.” In it, Seegert sharpens the existing discussion of reader-response theory and IF to explain how IF may need to balance between boredom and overstrain and how the writerly role allows for new sorts of presence. He then conducts some good discussions of Jon Ingold’s All Roads (highlighting how the body of the player character is indicated) and Paul O’Brian’s Luminous Horizon (looking particularly at the subjective narration).
Looks like a single issue of the Journal of Gaming & Virtual Worlds costs £18, unfortunately. (Institutional subscriptions are £150.) Too bad, particularly since there are least three peer-reviewed, open-access, no-page-fee journals in the field (Game Studies, Digital Humanities Quarterly, and eLudamos) that were up and running before this one was founded. Update: That is the advertised price, but the issue is currently available for free, as is the article.
Michael Gentry, author of the stunning, large-scale, Lovecraftian interactive fiction Anchorhead, has another full-scale IF, his first since that award-winning game came out in 1998.
Dave Cornelson, who founded the Speed IF competitions and the IFWiki, has led his interactive fiction company, Textfyre, to publish its first game.
The game that is so notable in both of these ways is Jack Toresal and The Secret Letter. It is available for either Windows or Mac for about $25. As with all of the planned offerings of Textfyre, this game is directed at a specific audience: young readers wanting to experience the pleasures of reading while playing computer games. The hope, no doubt, is that parents will appreciate the fun and literacy-enhancing qualities of interactive fiction.
You can check out the game online: There is an in-browser demo that runs using Microsoft Silverlight. (The game itself was developed in Inform 7, and was programmed by Graeme Jefferis, not Gentry.) The interface offers a book-like framework for the IF session and allows the player to flip ahead to a map or back to previous sections of the transcript. The illustrations were done by Erika Swanson. You can read more about the development of the game and the progress of the company on The Textfyre Times, Dave Cornelson’s blog.
The setting and the situation at the beginning of Jack Toresal is quite compelling, and after only a bit of interaction, I could see already that there are some interesting twists (including gender play), lots to explore, and a variety of people to meet and conversations to have. (I’ve played the game just a bit on my own; I was glad to also get to play and discuss the game with the Boston IF group yesterday.) Gentry’s writing is appropriate to the game’s audience, and is also effective and lively. Although this game probably lacks the tentacle attacks and generations of incest that made Anchorhead so chilling, it doesn’t pull punches for the kiddies – you can get Jack very unpleasantly killed if you don’t lead him to outwit his opponents.
Since Cascade Mountain Publishing ceased its run in 2000, I haven’t heard of a commercial IF company or publisher that has completed a project and released a game. Yes, there have been people selling their own IF in various forms – I’ve been one of them, with my hardback edition of Winchester’s Nightmare; Peter Nepstad has also sold his 1893: A World’s Fair Mystery. But Textfyre seems remarkable in accomplishing the commercial development and publication of a piece of interactive fiction that otherwise wouldn’t have been written, in putting together projects that involve many people. The company has wisely focused on a particular market, and on a particular type of reader/player that is not well-served by existing IF. Textfyre used a new development model in which programming is separated from writing and design, which themselves are potentially separated. (Gentry did both in this first title, but that won’t particularly be the case in others.) This first result, even though it is for younger readers, seems to be a good use of a major talent. Even to us older readers, it could be as interesting as a major release from an independent author. I’ll look forward to playing Jack Toresal and The Secret Letter further, and will hope that this release will just be an auspicious beginning for Textfyre.
Two main methodologies are used in Cheating to understand how and why people cheat at video games. The first is the analysis of how print publications and devices surrounding games (Nintendo Power, strategy guides, the Game Genie, and the like) help to shape our concept of these games, providing the axes along which they can be evaluated and how they should be played. Next, Consalvo interviews gamers and explores an MMO to find out what players consider cheating and what boundaries they draw as they play. What results is some real insight into single-player and multiplayer cheating and into various corporate, industrial, and legal perspectives as well as those of individual players. The book does not work toward a single definition of cheating; rather, it shows how players and game-makers are actively negotiating what’s fair and what isn’t, working to allow the enjoyment of the game, to map or adapt “real-life” ethics into the magic circle, and to build the gaming equivalent of cultural capital.
My colleague Tom Levenson (also a fellow blogger) has a new book coming out in a few days, Newton and the Counterfeiter: The Unknown Detective Career of the World’s Greatest Scientist. If you hop over to the Barnes & Noble page for the book, you can see the video that he went to shoot in London not too long ago. This should make it clear that Tom is not only a science writer who uncovers intriguing episodes from the lives of famous scientists (Einstein in Berlin) but also an Emmy-award-winning filmmaker who has done a slew of NOVA documentaries. The video (and the book) delves into how Newton worked in his seldom-discussed role as warden of the mint, inviting us to read about how a great scientific mind turned to police work. I hope that when I need to promote future books, I’ll be able to get away with writing computer programs or doing something else that’s easy.